by James Millar
ROBERT C. WILLIAMS
See also: FEBRUARY REVOLUTION; COMMUNISM; MEN-SHEVIKS; OCTOBER REVOLUTION; SOCIAL DEMOCRATIC WORKERS PARTY
BIBLIOGRAPHY
Pomper, Phillip. (1990). Lenin, Trotsky, and Stalin: The Intelligentsia in Power. New York: Columbia University Press. Service, Robert. (2000). Lenin. A Biography. London: Macmillan.
BOLSHOI THEATER
Moscow’s Bolshoi (“grand”) Theater became a kind of national theater and showcase for Russian opera and ballet in the Soviet period. The original Bolshoi Theater opened in 1825, although historians trace the theater’s lineage through a series of private theaters operating in Moscow as early as 1776. The Bolshoi Theater stands on the site of the last of
The Bolshoi Theater in Moscow, home to the acclaimed Bolshoi ballet and opera companies. © STEVE VIDLER/SUPERSTOCK
161
BONNER, YELENA GEORGIEVNA
these, which burned in 1805. The drama, opera, and ballet troupes of these older, private Moscow theaters were combined to create the Moscow Imperial Theaters the following year. One year after the drama troupe moved to a new home (the Maly [“small”] Theater) in 1824, the opera and ballet troupes took up residence in the newly constructed Bolshoi Theater. That theater burned in 1853. The present theater opened three years later, retaining the old name.
Moscow’s Bolshoi Theater functioned as a poor relation to the better-funded, national stage of St. Petersburg’s Maryinsky Theater until the Soviet era. Italian and Russian opera troupes coexisted in the rebuilt house in the nineteenth century, though Russian opera held a distinctly second place, and the theater witnessed few noteworthy premieres of Russian operas. The ballet repertory likewise consisted mostly of restaged works from the repertory of the St. Petersburg ballet. Marius Petipa’s 1869 Don Quixote furnishes the rare exception. When Peter Tchaikovsky’s Swan Lake debuted in the Bolshoi Theater in 1877, it was considered a flop (and was reworked in St. Petersburg in 1894 and 1895). The opera’s fortunes rose slightly when Sergei Rachmaninoff became its chief conductor from 1904 to 1906. Rachmaninoff debuted two of his own operas in the theater, which then featured such outstanding singers as Fyodor Chalyapin, Leonid Sobinov, and Antonina Nezhdanova.
The Bolshoi Theater became a showcase of Soviet operatic and balletic talent in the Stalin era. Dancers and choreographers from St. Petersburg were transferred to Moscow, much as the repertory had once been. A highly dramatic, athletic style evolved in the ballet in the post-World War II period, as the ballet school began to produce home-grown stars. Dancers such as Maya Pliset-skaya and Vladimir Vasiliev achieved worldwide renown touring the world in new vehicles in the years of the post-Stalin Thaw, though the company’s balletmasters and repertory continued to be imported from Leningrad. The opera followed a similar strategy, mostly restaging works that had premiered successfully elsewhere. None of the operas of Dmitri Shostakovich or Sergei Prokofiev had their premieres in the Bolshoi, for example. Instead, the opera specialized in monumental productions of the nineteenth-century Russian repertory, though singers such as Galina Vish-nevskaya, Irina Arkhipova, Elena Obraztsova, and Vladimir Atlantov established international careers in them. The prestige of both the Bolshoi’s opera and ballet fell precipitously in the first post-Soviet decade. The era of glasnost revealed that productions, performers, and the theater’s management were out of step with the theatrical mainstream of Europe and North America as once-generous state subsidies dwindled. As the theater approached artistic and financial bankruptcy, the Bolshoi ceded its place as a national institution to the more western-oriented Maryinsky Theater in St. Petersburg. See also: BALLET; DIAGILEV, SERGEI PAVLOVICH; NIJIN-SKY, VASLAV FOMICH; OPERA; PAVLOVA, ANNA MATVEYEVNA; RACHMANINOV, SERGEI VASILIEVICH; THEATER
BIBLIOGRAPHY
Pokrovsky, Boris, and Grigorovich, Yuri. (1979). The Bol-shoi, tr. Daryl Hislop. New York: Morrow. Roslavleva, Natalia. (1966). Era of the Russian Ballet. London: Da Capo. Swift, Mary Grace. (1968). The Art of the Dance in the U.S.S.R. Notre Dame, IN: University of Notre Dame Press.
TIM SCHOLL
BONNER, YELENA GEORGIEVNA
(b. 1923), human rights activist and widow of dissident Andrei Sakharov; recipient of the National Endowment for Democracy’s 1995 Democracy Award.
Yelena Bonner grew up among the elite of the Communist Party. Her mother, Ruth Bonner, joined the party in 1924. Her stepfather, Gevork Alikhanov, was a secretary of the Communist International. Bonner’s childhood ended abruptly with the arrests of her stepfather and mother in 1937. She finished high school in Leningrad and volunteered as a nurse during World War II. After the war, Bonner attended medical school and worked as a pediatrician.
Bonner met physicist and political dissident Andrei Sakharov in 1970, at the trial of human rights activists in Kaluga. They married in 1972. Bonner devoted herself to Sakharov, representing him at the Nobel Peace Prize ceremony in 1975. After Sakharov’s exile to Gorky in 1980, Bonner became his sole link to Moscow and the West, until her
162
BOOK OF DEGREES
own exile in 1984. In December 1986, Mikhail Gorbachev invited the couple to return to Moscow.
Since Sakharov’s death in 1989, Bonner has emerged as an outspoken and admired advocate of democracy in Russia. She joined the defenders of the Russian parliament during the attempted coup of August 1991. She withdrew her support of Boris Yeltsin to protest the war in Chechnya, which she condemned as a return to totalitarianism. Accepting the 2000 Hannah Arendt Award, Bonner denounced President Vladimir Putin’s unlimited power, the state’s expanding control over the mass media, its anti-Semitism, and “the de facto genocide of the Chechen people.” See also: DISSIDENT MOVEMENT; SAKHAROV, ANDREI DMITRIEVICH
BIBLIOGRAPHY
Bonner, Elena. (1993). Mothers and Daughters, tr. An-tonina W. Bouis. New York: Vintage Books. Bonner, Elena. (2001). “The Remains of Totalitarianism,” tr. Antonina W. Bouis. New York Review of Books (March 8, 2001):4-5.
LISA A. KIRSCHENBAUM
BOOK OF DEGREES
The Book of Degrees of the Royal Genealogy is the first narrative history of the Russian land. The massive text filling some 780 manuscript leaves composed between 1556 and 1563 is one among various ambitious literary projects initiated by Metropolitan Macarius, archbishop of Moscow and head of the Russian church during the reign of Ivan the Terrible as tsar (1547-1584). Ivan, whose Moscow-based ancestors had ruthlessly appropriated vast tracts of territory for their domain, encouraged writers to craft defenses of his legitimacy. Churchmen responded with a version of the dynasty’s history conveying their own perspective on the country’s future course. Conflating chronicles, saints’ lives, and legends, the book traces the ancestry of the Moscow princes in seventeen steps or degrees from Augustus Caesar and highlights the noble deeds of each ruler from Grand Prince Vladimir I (980-1015) to Tsar Ivan. The book’s purpose was not just to praise the tsar. The larger aim of its writers was to portray the Muscovite state as a divinely protected empire whose rulers would flourish as long as they obeyed God’s commandments, listened to the metropolitans, and supported the interests of the church.
The Book of Degrees is a work of both historio-graphical and literary significance. As an exercise in historiography, its scope and ideology are comparable to ninth-century compilations of Frankish history glorifying the line of the Carolingian rulers. Like the Carolingian historians, its authors define their country as the “new Israel.” By so doing, they legitimize members of a lesser princely clan whose founders had neither political nor dynastic claims to power, but who wished to be treated as the equals of the Byzantine emperors. Elite political circles accepted the book’s representations as authoritative proof of the rulers’ imperial descent. The portraits of the Moscow princes as champions of their faith commanded no less authority for the church. Lives, newly composed for the book, depicting rulers as saints equal to the apostles or as wonder-workers, served as testimony for the canonization of some Moscow princes and members
of their families.
As a literary work, the Book of Degrees marks a critical turning point between the predominantly monastic, fragmentary medieval writings and early modern narrative prose. Entries culled from annal-istic compilations (primarily the Nikon, Voskre-sensk, and Sophia chronicles) and saints’ lives supplied its building blocks, but the book transcends traditional generic categories and has no single literary model. Guided by the priest Andrei (Metropolitan Afanasy), writers unified their materials in a systematic way, fashioning fragments into expansive tales and integrating each tale into a progressively unfolding story of a tsardom whose course was steered by divine providence. A preface sets forth the book’s theological premises in terms of metaphors serving as figures or types for Russia’s historical course: the tree (linking the genealogical tree of the rulers, the Jesse Tree, and the tree in King Nebuchadnezzar’s prophetic dream); the ladder (a conflation of Jacob’s ladder and St. John Climacus’s divine ladder of perfection); and water (baptism). Readers are directed to a detailed table of contents, the first of its kind, which sets forth the book’s unique design and permits individual chapters to be swiftly located. Comparison of the three earliest surviving copies of the text (the Chudov, Tomsk, and Volkov copies, all dated in the 1560s), shows how original entries were altered, supplemented, and sometimes shifted from their initial textual positions by the editors to support their ideological interests.
163
BORETSKAYA, MARFA IVANOVNA
The book’s value as an authoritative source and a statement of the nation’s identity was recognized by Peter the Great, who in 1716 ordered a synopsis to be used for his own planned, but never executed, history of Russia. Because of the book’s importance for the canon, the Russian Academy commissioned a printed edition in 1771. As the first cohesive narrative of national history, the Book of Degrees served as a model for subsequent histories of Russia and as a sourcebook for mythological and artistic reconstructions of an idealized past. See also: CHRONICLES; IVAN IV; MAKARY; MUSCOVY
BIBLIOGRAPHY
Lenhoff, Gail. (2001). “How the Bones of Plato and Two Kievan Princes Were Baptized: Notes on the Political Theology of the‘Stepennaia kniga.’” Welt der Slaven 46:313-330. Miller, David. (1979). “The Velikie Minei Chetii and the Stepennaia Kniga of Metropolitan Makarii and the Origins of Russian National Consciousness.” Forschungen zur osteurop?ischen Geschichte 26: 263-282.
GAIL LENHOFF
is accused in an anonymous essay, preserved in a single copy of the Sophia First Chronicle, of plotting to marry the Lithuanian nobleman Michael Olelkovich and rule Novgorod with him under the sovereignty of the Lithuanian king. The Cathedral of St. Sophia, seat of the archbishops and emblem of Novgorodian independence, would have thereby come under Catholic jurisdiction. No other sources corroborate these charges against Marfa, although her son Dmitry, who served as mayor during 1470 and 1471, fought against Moscow in the decisive Battle of Shelon (July 14, 1471) and was executed at the order of Ivan III on July 24, 1471. Her other son Fyodor has also been identified with the pro-Lithuanian faction in Novgorod. The evidence for his activity is ambiguous. Nevertheless, he was arrested in 1476 and exiled to Murom, where he died that same year. Following the final campaign of 1478, Ivan III ordered that Muscovite governors be introduced into Novgorod and that the landowning elite be evicted and resettled. On February 7, 1478, Marfa was arrested. Her property was confiscated, and she was exiled. The date of her death is not known. See also: CATHEDRAL OF ST. SOPHIA, NOVGOROD; IVAN III; MUSCOVY; NOVGOROD THE GREAT; POSADNIK
BORETSKAYA, MARFA IVANOVNA
Charismatic leader of the Novgorodian resistance to Muscovite domination in the 1470s.
Marfa Boretskaya (“Marfa Posadnitsa”) was born into the politically prominent Loshinsky family, and married Isaac Andreyevich Boretsky, a wealthy boyar, who served as mayor (posadnik) of Novgorod from 1438 to 1439 and in 1453. She bore two sons, Dmitry and Fyodor. Marfa was widowed in the 1460s but remained one of the wealthiest individuals in Novgorod who owned slaves and sizable estates. Peasants on her lands to the north of Novgorod engaged in fishing, fur hunting, livestock raising, and salt boiling. Her southern estates produced edible grains and flax.
By the middle of the fifteenth century, the relations between the principalities of Moscow and Novgorod, long strained by chronic disputes over trade, taxes, and legal jurisdiction, intensified into overt hostilities. The campaign of 1471 was purportedly undertaken by Ivan III as a response to the efforts of a party of Novgorodian boyars to ally themselves with King Casimir of Lithuania. Marfa
BIBLIOGRAPHY
Lenhoff, Gail, and Martin, Janet. (2000). “Marfa Boret-skaia, Posadnitsa of Novgorod: A Reconsideration of Her Legend and Her Life.” Slavic Review 59(2): 343-368.
GAIL LENHOFF
BORODINO, BATTLE OF
Borodino was the climactic battle of the Campaign of 1812, which took place on September 7. Napoleon had invaded Russia hoping to force a battle near the frontier, but he pursued when the Russian armies retreated. His efforts to force a decisive battle at Smolensk having failed, Napoleon decided to advance toward Moscow, hoping to force the Russian army, now under the command of Field Marshal Mikhail Kutuzov, to stand and fight. Pressed hard by Tsar Alexander to do so, Kutuzov selected the field near the small village of Borodino, some seventy miles west of Moscow, for the battle. He concentrated his force, divided into two armies under the command of Generals Peter Bagration and
164
BOROTBISTY
Mikhail Barclay de Tolly, and constructed field fortifications in preparation for the fight.
Napoleon eagerly seized upon Kutuzov’s stand and prepared for battle. Napoleon’s normal practice would have been to try to turn one of the flanks of the Russian army, which Kutuzov had fortified. Mindful of the Russians’ retreat from Smolensk when he had tried a similar maneuver, Napoleon rejected this approach in favor of a frontal assault. The extremely bloody battle that ensued centered around French attempts to seize and hold Kutu-zov’s field fortifications, especially the Rayevsky Redoubt. The battle was a stalemate militarily, although Kutuzov decided to abandon the field during the night, continuing his retreat to Moscow.
Borodino was effectively a victory for the Russians and a turning point in the campaign. Napoleon sought to destroy the Russian army on the battlefield and failed. Kutuzov had aimed only to preserve his army as an effective fighting force, and he succeeded. Napoleon’s subsequent seizure of Moscow turned out to be insufficient to overcome the devastating attrition his army had suffered. Russia’s losses were, nevertheless, very high, and included Bagration, wounded on the field, who died from an infection two weeks later. See also: FRENCH WAR OF 1812; KUTUZOV, MIKHAIL ILAR-IONOVICH; NAPOLEON I
BIBLIOGRAPHY
Duffy, Christopher. (1973). Borodino and the War of 1812. New York: Scribner.
FREDERICK W. KAGAN
BOROTBISTY
“Fighters” (full name: Ukrainian Party of Socialist Revolutionaries, or Communist-Borotbisty), a short-lived Ukrainian radical socialist party, which played an important role in the revolutionary events in Ukraine from 1918 to 1920.
Originally the left wing of the Ukrainian Party of Socialist Revolutionaries, the Borotbisty, who derived their name from the party’s weekly, Borotba (Struggle), took control of the Central Committee in May 1918 and formally dissolved their parent party. While supporting the Soviet political order, the Borotbisty advocated Ukrainian autonomy and the existence of an independent Ukrainian army. Although the Borotbisty never had a well-developed organizational structure, the party enjoyed popularity among the poor Ukrainian peasantry. After Bolshevik troops took control of Ukraine in early 1919, Vladimir Lenin sought to quell peasant discontent by including some Borotbisty in the Ukrainian Soviet government. However, as the White and Ukrainian nationalist armies forced the Bolsheviks to retreat, in August 1919 the Borotbisty, together with the Ukrainian Social Democratic Party (Independentists), formed the Ukrain
ian Communist Party (Borotbisty) and requested admission to the Communist International as a separate party, without success. Although the Bolsheviks were uneasy about the Borotbist national communist stance, the two parties collaborated again during the Red Army offensive in Ukraine in early 1920. At its height, the Borotbist membership may have reached fifteen thousand. In March 1920 the Kremlin pressured the Borotbisty into dissolving their party and joining the Communist Party of Ukraine, which was the Ukrainian branch of the Bolshevik party. The Borotbist leadership agreed to the dissolution with the understanding that this was the only way to preserve a separate Ukrainian Soviet republic. During the early 1920s some former Borotbisty, such as Hry-hory Hrynko and Olexandr Shumsky, occupied important positions in the Soviet Ukrainian party leadership and government. Shumsky rose to prominence after 1923 as a leader of the Ukrainiza-tion drive, although by the end of the decade he was criticized for his national deviation. During the 1930s most former Borotbisty, including Panas Lyubchenko, who had risen to the position of the head of the republican government, fell victim to the Stalinist terror. Among the very few survivors was the celebrated filmmaker Olexandr (Alexander) Dovzhenko. See also: UKRAINE AND UKRAINIANS
BIBLIOGRAPHY
Borys, Juriij. (1980). The Sovietization of Ukraine, 1917-1923, 2nd ed. Edmonton: Canadian Institute of Ukrainian Studies Press. Maistrenko, Ivan. (1954). Borotbism: A Chapter in the History of Ukrainian Communism, tr. George S. N. Luckyj with the assistance of Ivan L. Rudnytsky. New York: Research Program on the USSR.